At Grace Design our dedication to creating exceptional audio equipment is driven by our love of music and the art of recording it.

As our industry evolves to suit the whims of an ever expanding and diluted marketplace, our mission comes ever more into focus: to build beautiful products

of tangible and lasting value which will help engineers, musicians and audiophiles become more engaged with the creation and presentation of great music.

The products featured in this catalog are the result of the ongoing dialog between ourselves and our esteemed peers in the professional audio industry. It is with great honor and respect that we offer these products to the world, and with high hopes that they will continue to facilitate the pursuit of great art.

Love my grace 101 which ive had for 2 years. I also have a new ribbon microphone, when I saw the new m101 advertised, I jumped for joy. I bought it and was not

disappointed! After reading pages of reviews and searching the web for comments for a couple months before buying the grace 101, I can honestly testify that everything

I ever read about the dead on sonic qualities of this pre amp is absolutely true. Im in for another for my live vocal rig! Beautiful design, intuitive to use, killer

sound! I am a bass player and I am using the 101 for live and recording. I would say I love it its great.....Great tone thanks so much. I am using your m904b control-

ler with *** mains, *** sub and *** cable.The sound of this controller is very well rounded, with outstanding accuracy and detail, leting you hear very, very subtle

detail and air around the low and high freqs, with no hype at all in the top end. The mids are rock solid. The lows are phase accurate, tight and very well controled.

The headphone amp is stellar useing my *** ***s, the x-feed circuitry is awsome! All of this comes from a/b test with our *** and *** units in our other room. I bought

a 101 preamp after auditioning a unit against several competitors. I liked it so much I decided to buy two. Great piece, great price. Neal has been a great help

assisting me with selecting the right grace product for my situation. Please pass along my thanks to him. The 201 faithfully reproduces the dynamics of a string

quartet, piano and solo violin like no other product I have tried. Also, they make modest price microphones ($250-400) sound wonderful and expensive mics ($750-1000)

sound pristine. Am hopeful grace will come out with a stand alone 8 channel a/d-d/a box similar to whats optional in the 801 in the future. Sooner or later, I will

make the move to digital (getting a bit tired of lugging my multitrack reel to reel around to live performances) and dont want to compromise the 201 output at all.

The m906 is fablulous! Great sound, great stability and powerful combinations. Now I can record, mix and master my works with accurate and precise monitoring for

virtual everything I need. It\s the center of my entire digital/analog studio. Thank you grace design. This unit sounds fantastic, has great features and its great

looks certainly dont hurt. I bought this one for home reference listening of my work. I plan on buying two more for the mastering studio in the near future. The name

headphone amp is misleading. True, the unit is a great headphone amp but can also be an outboard dac, or a fine preamp since analog inputs are available. The separate,

remote controlled, level controls with .05 Db matching for a 99 db range is unmatched by any (affordable) passive potentiometer. It also looks like a professional

piece of equipment. I am so impressed with grace design as a whole. The website is fantastic. I was able to study the m902\s manual before I received the actual unit,

which allowed me to get my questions answered before I was tasked with installing the m902 into my reference system. What an absolute pleasure it was to talk with

neal thompson about my particular questions concerning unity gain settings and other line output connection issues. Pleasant and deeply knowledgable, he clearly

answered all my questions and gave me valuable insight with some recommendations for product usage and feature descriptions. From the packaging to the actual unit

itself, everything just exudes quality. The annunciation and tactile feel of the m902 outperforms even my *** (though I love my *** even though I am a corporate

pilot by profession, I wa!S educated as a mechanical engineer. I routinely operate! Aircraf t which cost in excess of 40 million dollars, so I feel I am qualified to

say that I truly can appreciate the high level of engineering that went into the design and production of the m902 reference headphone amplifier. I will close with

what every good audio reviewer has said so far about the m902, my highest recommendation. Bravo. Beautiful unit. Well thought out. I purchased this unit over the ***

because of the feature set, asthetics, and amount of digital i/o and digital routing. Sonic quality: transparent, clean, silent!!! Stereo image jumps from the speak-

ers. This unit is a great match for my needs & workflow. A great-sounding, transparent, beautifully-built & robust surround controller! The 101 made me very angry

- it kept showing all the flaws in my mics and my room! But I figured I could trust someone who doesnt lie to me rather than someone who tells me what I want to hear.

Great pre! I opened the box and immediately put it into action on a session. I was speechless! Thank you. Looking forward to putting the m201 through its paces. Looks

great in the rack! I researched preamps for a very long time prior to making the choice of the grace design model 101. Once I plugged in my km184 and strummed my

acoustic, I fell in love. I didn\t know a mic\d instrument could actually sound as good as a purely acoustic experience. All I can say is the grace 201 preamp is the

best sounding pre i\ve ever owned and used! The reviews don\t lie or exaggerate. I\ll keep this one for a life-time. My recordings have never sounded so pristine and

full of depth and character. Thank you grace design!!!! The sonic clarity of the m901 is amazing. I can hear details in my sounds that I never heard before, espe-

cially with my new *** headphones. I do 95% of my sound design on headphones now and only use the genelecs when doing lcrs or 5.1 Work. It was everything I had hoped

for! I do a significant quantity of organ, choral, orchestral and chamber recordings. As good as the monitoring is on my ***, this is better. Coupled with my *** I

have an unbeatable combination and produce astonishing results with the entire chain. The m902 deserves highest merit in quality of construction, attention to detail,

innovation and functionality. As a headphone amplifier, it has no peer in it\s price range and sonic attributes. As a preamplifier, it peforms as well as units cost-

ing much more. The fact that it does so many things in it\s compact dimensions transcends further comment as the proof is in the listening. Grace designs makes a

bold statement with this product and sets a fine example for other manufacturers to aspire towards. Congratulations on a product of particular distinction. Im setting

up an editing suite, and i\d love to place posters of products I use and reccommend for clients to see. If you could provide any promotional materials that I could

display (posters, etc.) I would be much obliged, as I am very pleased with my lunatec v3. This mic pre brings together great sound and easy of use. In my book, thats

a killer combination! In my work, it is imperative that I be able to move fast and rely on my gear. Thanks!! Grace design products are transparent. I can completely

trust that my grace handles audio signals with least impact on the sound I put in. That transparency actually puts me in better control of the ultimate sound I am

trying to achieve. Thank you! The rather unique combination of analog/digital and usb at this audiophile level in a compact bullet proof housing, not unlike my

powerbook 17\s aircraft grade aluminum, make this product the choice. M902 is a such a versatile little wonder, driving *** or *** , or driving our power amps ***

and studio monitors *** directly, this audiophile and versatile powerbrick always performs with finesse and detail, power and insight. Model 801r- we own a second

801r - so the new registration address applies to this unit also. We did a ad converter test, including a da/ad loop of an original soundfile. The new files were

rerecorded through a *** into all 5 ad converters, and also 5 times with a gracedesign 801r inserted. While some converters had only neglegible differences, none of

them were able to show any difference between no 801r and an 801r inserted ! This must mean either no converter was transparant enough, or the 801r is transparant

enough. While we did this test to check for differences in absolute transparancy of the ads, it turned out to be another proof that we shouldn\t bother to invest

in another brand of mic pre. So we happily expanded our 801r with a second one and a 801rcu. What a fabulous product! The build quality and performance are

top notch. I would recommend it for anyone as the first line preamp for clean, honest gain. M906 - m906... What a sound... What a design... What a

class... Entirly on it\s own... Lonely at the top :-) congratulations! Please continue the good work :-) I really enjoy the features added since

the 901: line out, volume readout, switching between line out & phones, usb addition for listening to itunes, x-feed all of which are

seamless with the remote. And of course the m902 is a beauty to look at. The 101 is by far the cleanest channel you can buy for

under $1000. You won\t find a more musical, more sonically pristine preamp anywhere else for this price. After using onboard

pre\s on a behringer board for years and accepting the sound for\what it was\, recording with the 101 is sonically

like putting on a pair of prescription glasses for the first time. You make an excellent product at a reasonable

price. Its electronic performance, build quality and semi-industrial look appeal to me. Your customer

service is responsive and effective, qualities that go a long way in customer satisfaction. The

801 is a beautiful piece of hardware! Easy to use, amazing sound, impossible to beat! Top

quality, great sound and unbelievably feature rich for the small size...Good job.

Exceeding my expectations! Great work! A new reference in 2 channel portables

you guys rock! Great products!! Great product!!!!! I am in love with

this!Yall rule! I love this v3. Absolutely amazing! I havent made

a bad tape yet! Elegant sonic perfection! Excellent unit!!!

Great performnce. Very flat response. No coloring.

Awesome units - 1st class design! Great

product, thanks! Great product! Like

the mechanical design and it-

sounds great! Cool

product. Thanks!

I have

The landscape of pro audio has changed. Computer based audio produc-tion has greatly reduced the need for large format recording consoles, minus one part: the master section. This progression has created a need for a whole new genre of products - the monitor controller, of which there are many offerings, from simple to full featured. Grace Design proudly offers the pinnacle: the m906 high fidelity 5.1 monitor controller.

The main idea behind the m906 was to provide high fidelity level control for engi-neers working with 5.1 surround playback systems. But from there, we got blissfully carried away and ultimately obsessed with producing the most full featured and high-est quality monitor controller available.

At its core, the m906 is a purist level control for monitoring surround (or stereo) audio sources. But a closer look reveals a highly intelligent feature set that makes it a vital nerve center for any recording, master-ing, or post facility centered around a digital

audio workstation. It is configured as a 2U rack mount mainframe controlled by a sleek, powerful desktop remote control, with all audio kept in the mainframe and all control via the remote control.

The m906 offers a full complement of balanced and unbalanced analog 5.1 and digital 5.1 and stereo inputs, the latter featuring our latest generation reference 24bit/192kHz DAC technology with our proprietary s-Lock™ PLL for rock solid digital stability (more info can be found in the tech-nical discussion). All inputs and outputs on the m906 can be user calibrated for seamless integration into any playback environment with all types of playback equipment.

The m906’s signal path is designed to deliver nothing short of the best performing, transparent audio available. All components are chosen for audiophile performance and long term reliability. Level controls, the heart of a monitor controller, are low distortion precision devices which provide a 100dB range in silent .5dB steps.

Included as a standard feature is our acclaimed reference headphone amplifier circuitry (from our m902), with one output jack on the mainframe and one additional output on the remote. This unique circuitry provides precision headphone amplifica-tion for critical monitoring, mixing and mastering.

While the m906 boasts a remarkably full set of features, the real achievement for us is to offer this while maintaining the impec-cable, transparent audio performance for which all of our products are famous. In its few short years in production, the m906 has found a home in countless of the world’s premier audio production, HD production, broadcast, post and mastering facilities.

The m906 is here to empower audio professionals with the highest performance and most comprehensive feature set that any surround monitor control system has to offer.

high fidelity 5.1 and stereo monitor control for recording, mastering, film, broadcast and post.

m906 5.1 and ster

eo monito

r controll

er

SPECIFICATIONS ANALOG IN THD+N (@ 0dB ga in , 1kH z)

@+20dBu out <0.001% (0.00075% typical)@ 0dBu out <0.003% (0.001% typical)

Frequenc y Response+/-3dB 3Hz - 250kHz

D ynamic R ange20-22kHz bandwidth 112dB

Output Noise (20-22kH z bandwidth , -20dB ga in)High gain mode -86dBuLow gain mode -96dBu

Output Noise (A weighted, -20dB ga in)High gain mode -91dBuLow gain mode -99dBu

Phase Deviat ion20Hz to 20kHz < 4°

Crossta lk any channel1kHz < 100dB

Balanced I nput CMRR 60Hz > 60dB1kHz >75dB10kHz >60dB

Gain R angeLow gain mode (0.5dB steps) -105.5dB to +20dBHigh gain mode (0.5dB steps) -95.5dB to +30dB

Channel Track ing Accurac yAny channel +/-0.05dB

Maximum Output LevelLow gain mode (balanced) +15dBuHigh gain mode (balanced) +27dBu

Maximum I nput LevelBalanced inputs +30dBuUnbalanced inputs +20dBu

I mpedanceBalanced inputs 30k OhmsUnbalanced inputs 50k OhmsBalanced outputs 300 OhmsMinimum load impedance 300 Ohms

D/A CONVERTER FIXED OUTPUTSTHD+N

1kHz, -1dBFS, 20-22kHz bandwidth 0.002%D ynamic R ange

20-22kHz bandwidth >111dBI nput Lock R ange

AES3 / S/PDIF 32kHz to 192kHzTOSLINK 32kHz to 96kHzADAT LIGHTPIPE™ 30kHz 55kHzs-Lock™ Sample Clock Intrinsic Jitter <25pss-Lock™ Supported Sample Rates 44.1, 48, 88.2, 96, 176.4, 192kHz

POWER SUPPLY / GENERALPower consumption 40WInput Voltage 50-60Hz 100, 120, 220, 230-240VAC

DimensionsMain chassis IEC 2U H3.5” x W19” x D10.5” Remote control unit H1.6” x W8” x D5.25”Power supply unit H1.7” x W8.5” x D8.5”

WeightMain chassis 14.1lbs / 6.4kgRemote control unit 2.3lbs / 1kgPower supply unit 6.5lbs / 2.9kg

multiple 5.1 and stereo analog inputs•

24bit/192kHz digital 5.1 and stereo inputs- AES3, •S/PDIF, ADAT and TOSLINK

s-Lock™ phase lock loop sample clock regen-•eration for ultra-low jitter and rock solid digital stability

precision speaker and headphone level controls •with a 100dB range in 0.5dB steps

every electrical and mechanical design element •maximized for absolute purist audiophile per-formance

all controls are built into an elegant, convenient •desktop remote control unit

all I/O and audio are routed in a 2U rack mount •mainframe powered by an external 1U 1/2 rack power supply

control up to three speaker systems - two 5.1 or •up to three stereo

m902 style high-current audiophile headphone •amplifier built in with one output on remote control unit and one on the mainframe unit

complete system level calibration (inputs, out-•puts, inter-channel balance, dim) and individual channel solo/mute

balanced talkback microphone input and activa-•tion switch with additional external foot switch control jack

fixed level 5.1 DAC output for direct audio trans-•fers

optional downmix module supports all standard •Dolby mix ratios

optional AES Loop-thru feature provides four •AES digital outputs for passing signals to other devices downstream

five year transferable warranty on parts and •labor

While 5.1 surround has become well established in film and HD production, stereo is still king and remains the standard for producing and delivering music. Ac-cordingly, we offer our monitor controller in a stereo only version - the m904.

The m904 combines all the same features and technology found in our flagship m906 surround controller, and is the perfect nerve center for any type of audio production facility - from project studio to world class mastering facility.

The m904 offers a full complement of balanced and unbalanced stereo analog and digital inputs, the latter featuring our latest generation reference 24bit/192kHz DAC technology with our proprietary s-Lock™ PLL for rock solid digital stability (more info can be found in the technical discussion). All inputs and outputs are easily user calibrated for seamless integration into any playback environment with all types of playback equipment.

The m904 is configured as a 2U rack chassis, with all system controls built into the front panel, or is available as the m904b, with a blank 2U mainframe which is controlled by a separate remote control unit (m904RCU sold separately). Additionally, a standard m904 can be used with the m904RCU, so the user can select between local and remote control.

Included as a standard feature is our critically acclaimed reference headphone amplifier circuitry (as featured in our m902), with two output jacks on the mainframe or one jack on the m904b and one on the m904RCU. This circuitry provides absolutely pristine audiophile headphone amplification for critical monitoring, mixing and mastering.

While the m904 provides an unparal-leled list of useful features, the real achieve-ment for us was to implement all of this while maintaining our trademark musical, high fidelity audio performance. All com-

ponents are selected and design decisions made for absolute audio transparency and long term reliability, making this the perfect link between your mix and monitors.

The m904 is here to empower audio professionals with the highest performance and most comprehensive feature set that any stereo monitor control system has to offer.

high fidelity stereo monitor control for recording, mastering, film, broadcast and post.

m904 stereo

monitor co

ntroller

optional m904 remote control unit

SPECIFICATIONS ANALOG IN THD+N (@ 0dB ga in , 1kH z)

@+20dBu out <0.001% (0.00075% typical)@ 0dBu out <0.003% (0.001% typical)

Frequenc y Response+/-3dB 3Hz - 250kHz

D ynamic R ange20-22kHz bandwidth 112dB

Output Noise (20-22kH z bandwidth , -20dB ga in)High gain mode -86dBuLow gain mode -96dBu

Output Noise (A weighted, -20dB ga in)High gain mode -91dBuLow gain mode -99dBu

Phase Deviat ion20Hz to 20kHz < 4°

Crossta lk any channel1kHz < 100dB

Balanced I nput CMRR60Hz > 60dB1kHz >65dB10kHz >60dB

Gain R angeLow gain mode (0.5dB steps) -105.5dB to +20dBHigh gain mode (0.5dB steps) -95.5dB to +30dB

Channel Track ing Accurac yAny channel +/-0.05dB

Maximum Output LevelLow gain mode (balanced) +15dBuHigh gain mode (balanced) +27dBu

Maximum I nput LevelBalanced inputs +30dBuUnbalanced inputs +20dBu

I mpedancesBalanced inputs 30k OhmsUnbalanced inputs 50k OhmsBalanced outputs 300 OhmsMinimum load impedance 300 Ohms

D/A CONVERTER FIXED OUTPUTS

THD+N1kHz, -1dBFS, 20-22kHz bandwidth 0.002%

D ynamic R ange20-22kHz bandwidth >111dB

I nput Lock R angeAES3 / S/PDIF 32kHz to 192kHzTOSLINK 32kHz to 96kHzADAT LIGHTPIPE™ 30kHz 55kHzs-Lock™ Sample Clock Intrinsic Jitter <25pss-Lock™ Supported Sample Rates 44.1, 48, 88.2, 96, 176.4, 192kHz

POWER SUPPLY / GENERALPower consumption 40WInput Voltage 50-60Hz 100, 120, 220, 230-240VAC

DimensionsMain chassis IEC 2U H3.5” x W19” x D10.5” Remote control unit H1.6” x W8” x D5.25”

WeightMain chassis 16.7lbs (7.6kg)Remote control unit 2.3lbs (1kg)

multiple stereo analog inputs•

24bit/192kHz digital stereo inputs- AES3, S/PDIF, •ADAT and TOSLINK

s-Lock™ phase lock loop sample clock regen-•eration for ultra-low jitter and rock solid digital stability

precision speaker and headphone level controls •with a 100dB range in 0.5dB steps

every electrical and mechanical design element •maximized for absolute purist, audiophile perfor-mance

available as the m904b, with a blank panel main-•frame unit and controlled via m904RCU (sold separately)

all I/O and audio are routed in the 2U rack mount •mainframe powered by an internal AC supply

multiple speaker set selection - up to 3 stereo •sets

m902 style high-current audiophile headphone •amplifier built in with two outputs on front panel

complete system level calibration (inputs, out-•puts, inter-channel balance, dim)

balanced talkback microphone input and activa-•tion switch with additional external foot switch control jack

fixed level stereo DAC output for direct audio •transfers

five year transferable warranty on parts and la-•bor

optional infrared remote

Presenting the audio microscope. Simply plug in your favorite headphones, cue up your favorite reference material and get ready to hear, literally, what you’ve been missing, courtesy of the m902 reference headphone amplifier.

At the core of the m902 is our audio-phile, high-current transimpedance ampli-fier circuitry, which effortlessly drives even the lowest impedance headphones and provides the high-resolution and low-level ambient detail for which all Grace Design products are famous. This circuitry makes familiar recorded material become at once transparent and alive, while critical details in editing and mastering become obvious and easy to manipulate.

Professionals and audiophiles alike are continually floored by the m902’s high

performance 24bit/192kHz DAC, which includes our unique s-Lock™ dual stage PLL (Phase Lock Loop) for extremely low intrin-sic jitter and rock solid digital performance.

A full complement of analog and digital inputs are provided (AES3, S/PDIF, TOSLINK and USB), which are selectable via a front panel rotary switch. We offer an optional infrared remote control, which provides the essential controls for anyone working out of reach of their m902.

The m902 cleverly adds stereo unbal-anced or optional balanced (m902b) ana-log line outputs for connection to powered studio monitors or amplifiers. This allows it to double as an elegantly simple high fidelity monitor controller or even a purist audiophile preamplifier / DAC. And, similar to its big brothers (m906, m904), the m902

provides some essential user calibration settings which help it to integrate into any playback environment.

The m902 includes a crossfeed circuit, or XFeed, which simulates the natural acoustics of a loudspeaker listening envi-ronment and HRTF (Head Related Transfer Functions). This circuitry, designed by Dr. Jan Meier, can significantly improve imag-ing, while reducing listening fatigue when using headphones.

Celebrated by audiophiles and audio engineers alike, the m902 is our crossover smash hit and is a must have for anyone searching to discover new depths in music and sound.

headphone amplifier, DAC and monitor control for professional and audiophile applications

m902 reference

headphon

e amplifie

r, DAC, monitor co

ntroller

SPECIFICATIONS ANALOG INGain

Normal Mode +0dB

Boost Mode +10dB

Frequenc y Response

@ 0dBu out +/- .25dB 22Hz - 120kHz

@ 0dBu out +/- .5dB 12Hz - 260kHz

@ 0dBu out +/-3dB 4Hz - 600kHz

Maximum Output Level

@1kHz, 50 Ohm load +21.4dBu (9.11Vrms)

I mpedance

INPUT 106K Ohms balanced

INPUT 53K Ohms unbalanced

OUTPUT 1 Ohm

D ynamic R ange

@ 0dB gain 116dB

@ -10dB gain 119dB

THD+N

+10dBu out, 50 Ohm load, SMPTE 4:1 <0.01%

Headphone +10dBu out, 50 Ohm load <0.008%

Line Out +10dBu out <0.002%

Attenuator Channel Matching

24 position switch <0.05dB

Attenuator Range 99.5dB

SPECIFICATIONS D/A CONVERTER

Input Sample Rate 32, 44.1, 48, 88.2, 96, 176.4, 192kHz

THD+N

44.1kHz, 24bit, 1kHz, +20dBu out <0.002%

Noise Floor

0dB gain, 22-22kHz -94dBu

0dB gain, A-weighted -97dBu

Power Requi rements

120VAC .16A

230VAC .08A

Dimensions and Weight Dimensions H1.7” x W8.5” x D8.25”

Weight 5 lbs (2.2kg)

balanced and unbalanced analog inputs•

24bit/192kHz digital stereo inputs- AES3, S/•PDIF, TOSLINK and USB (USB input supports 16 bit/44.1 and 48k only)

s-Lock™ phase lock loop sample clock re-•generation for ultra-low jitter and rock solid digital stability

high-current transimpedance headphone •amplifier circuitry built to effortlessly drive low impedance headphones

unbalanced variable level analog line outputs •for studio monitors, optional balanced out-puts (m902b)

all electrical and mechanical design elements •maximized for absolute purist, audiophile performance

precision level control with a 99.5dB range in •0.5 dB steps

channel level matching accuracy of 0.05dB•

crossfeed circuitry (XFeed) for improved •headphone imaging

optional infrared remote control available•

internal linear power supply with custom •wound toroidal transformer

no electrolytic capacitors in the signal path•

highest quality metal film resistors used •throughout

sealed gold contact relays used for all signal •switching

five year transferable warranty on parts and •labor

AnAlogAmplifier Topology - Grace Design

microphone preamplifiers are fully bal-anced, with transformerless inputs and outputs. The input amplifiers are based on monolithic, low noise instrumenta-tion amplifiers. Gain core sections are transimpedance, or “current feedback” amplifiers, which have many important advantages over traditional “voltage feedback” op-amps.

First, transimpedance amplifiers have a nearly constant bandwidth over a wide gain range and are not prone to large-signal slew rate limiting, which results in improved dynamic perfor-mance. Compared to voltage feedback op-amps (which are found in most preamplifier designs), transimpedance amplifiers have better dynamic perfor-mance and are able to track complex harmonics without adding any metallic or “solid-state” character to the sound. Also, transimpedance amplifiers reveal greater detail and provide a more open, musical sound quality. Furthermore, transimpedance amplifiers maintain the same sound quality all the way up to the highest gain levels, which makes them dramatically superior for use with low output ribbon microphones.

Output Driver Stages - The balanced output stage of our preampli-fiers is capable of driving extremely long cable runs and load impedances down to 50 Ohms. Transient performance is superb and is not compromised when operating in unbalanced modes.

Integrated Vs. Discrete - Our gain core integrates the balanced input ampli-fiers on a single die and we feel that the advantages of this over a traditional “dis-crete” layout approach are important to understand. With the integrated ampli-fier components in very close proximity to each other, the paths of critical signals are kept very short. As well, energy stor-age from stray circuit board capacitance

and inductance is eliminated. Integration of the input amplifiers also provides su-perior thermal tracking of input transis-tors and feedback resistors. It’s true that in the early days of integrated circuits, it was better to design a discrete circuit because it was not yet possible to cre-ate transistors and resistors of the same quality as discrete devices. But today the quality of integrated transistors and resis-tors allows integrated circuits to achieve a much higher level of sonic purity than even the best discrete designs.

Misconceptions about “Class A“ operation - In the early days of solid state power amplifiers, class B push-pull output stages were prone to crossover distortion, which was particularly bad sounding. By changing the operation mode to class A, designers were able to eliminate this crossover distortion, but at the expense of dramatically higher power consumption and lower available power for the speaker. But subsequent advancements in output stage topology resulted in class AB mode, which dra-matically reduced crossover distortion without the power requirements of class A operation.

In regards to low level electronics, such as microphone preamplifiers, class A or AB is essentially irrelevant in deter-mining over all sound quality, as these are not power amplifiers. Modern low-level high speed integrated amplifiers are free from the problems of primitive solid state power amplifiers because they do not employ large geometry power transistors, and are not required to drive low impedance loudspeakers. Other design elements such as capaci-tor type, resistor quality, power supply grounding and circuit board layout com-bine to have a much greater net effect on sound quality - much more so than whether or not a design operates in class A or class AB mode.

Controls - Each gain control used in all our preamplifiers (with the excep-

tion of the m802 remote controlled pre-amplifier) consists of a precision switch wired with 1% metal film resistors. The advantages of a fixed resistor switch over a potentiometer for gain setting are sub-stantial: as music signal flows through a potentiometer, the potentiometer’s temperature modulates, causing its resistance to modulate. As the value of resistance changes, so does the amplifier gain, resulting in unwanted dynamic dis-tortion. Most conductive plastic potenti-ometers have temperature coefficients of +/-1000ppm/ºC, which can cause considerable signal degradation at high amplifier gains. By comparison, a metal film resistor has a typical temperature coefficient of +/-50ppm/ºC, which repre-sents more than an order of magnitude improvement in thermal stability.

Relays - To keep signal paths as short as possible, relays are used to per-form phase reverse, input selection and input attenuator functions. Sealed, gold contact relays offer no signal degrada-tion and are completely reliable (rated for over 50 million operations without significant change in contact resistance).

Power Supply - The power supply is the heart of any audio device. All of our products (excluding the Lunatec V3 and m101) incorporate robust linear power supplies. The IEC AC power entry mod-ule includes a power line RFI filter and provides switching for 100/120/220/230-240VAC. High efficiency, low radiated noise toroidal transformers are used for power conversion. All of the audio DC power supplies have two stages of regu-lation- one in the power supply and one on each audio pcb, which ensures that there is no interaction between chan-nels. Phantom power is provided with a two-stage low-noise +48V regulator.

Grounding - Correct power supply and signal grounding is a prerequisite to high fidelity audio performance. Each of our audio circuit boards incorporates a low inductance copper ground plane

which provides a very stable signal and power supply reference. For added noise immunity, the 5V logic/relay and LED power supplies have their own ground returns.

Passive Components - Selection of passive components is as critical as any other aspect of audio design. The quality of resistors, capacitors, inductors, connectors, wire, switches and even solder have significant effects on sonic quality. All of the passive components in our designs are selected for optimum sonic performance and long term reli-ability.

Capacitors have the most significant impact on signal purity. The only signal path capacitors used are for phantom power de-coupling, which are ultra-linear metalized film capacitors. The rest of the audio circuit is direct-coupled with DC servo control. There are no electro-lytic capacitors in the signal path, which have poor temperature stability, high dielectric absorption, wide tolerances and a relatively short life span. Dielectric absorption causes a capacitor to retain a certain quantity of its charge when dis-charged, which then leaks out over time, causing a smearing of high frequencies, which can result in the all too common harsh, “solid state” sound quality.

By contrast, film capacitors have dramatically less dielectric absorption than even the best electrolytic capaci-tors, which results in much improved transient performance, enhanced spatial accuracy and low frequency realism. As well, film capacitors are available in much tighter tolerances which, in the case of balanced input de-coupling, is important for acceptable low frequency common mode rejection. The use of film capacitors instead of electrolytic types results in a much more natural, less “me-tallic” sonic character.

All audio related resistors are preci-sion metal film types for low noise and

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superior temperature stability, and all critical signal path resistors are fabri-cated with copper end caps rather than steel, which helps to avoid any induc-tive reactance. Ferrite beads, common mode chokes, and highly stable poly-propylene capacitors form an input filter to protect the input amplifiers from RF interference. Ferrite beads also protect the output amplifiers from any interference on the output wires.

DIgITAlAnalog to Digital Converters -

Our new A/D converters represent the state of the art in high performance conversion for the most demanding music recording applications. An A/D converter can be divided into three basic functional blocks; the analog input stage, the A/D converter, and the clock generation (or regeneration). With any high performance A/D con-verter design, all three of these areas require complete attention and must be perfectly realized to achieve true high fidelity audio performance.

Analog Input Stage - Our converter’s analog input circuitry is designed to be simple and pure. This fully differential circuitry contains no electrolytic capacitors and utilizes pre-cision 0.5% tolerance thin film resistors, which guarantees no signal coloration from capacitor dielectric absorption and resistor thermal modulation. Care-ful attention to grounding and power supply layout guarantees no sonic ab-errations caused from unwanted inter-ference from digital circuitry. The ana-log input amplifiers are powered from their own dedicated voltage regulators and each analog power supply rail is double regulated to provide extreme isolation from power line related noise. Driving the input of modern delta-sigma converters requires a low driving impedance and high current from the A/D input driver, and our experience

from designing high performance mi-crophone amplifiers with precision line drivers translates very well to this task.

A/D Converter - The A/D con-verter itself is the Cirrus CS5381. This converter employs a fifth order delta-sigma modulator and a low pass filter that exhibits very wide dynamic range and low latency. With a more gentle slope digital filter than other ADC chips, the CS5381 is the most musical of the high end converter ICs and is capable of 120dB dynamic range with distor-tion and noise artifacts at less than -110dB. Separate power supplies for the analog and digital portions of the A/D converter ensure that the preci-sion delta sigma modulator will not be affected by other surrounding circuitry. As well, the differential inputs provide additional input noise rejection.

Clocks - A perfectly executed ana-log stage and the best performing A/D converter is only as good as the sam-pling clock. Even the smallest amounts of clock jitter will readily degrade the performance of the converter by intro-ducing non-harmonically related noise and distortion.

When operating on the internal clock, the A/D converter sample clock is generated by a quartz oscillator which has very low jitter. However, many applications require that the A/D converter be synchronized to an exter-nal clock source, usually in the form of a word clock, which is where the greatest challenge arises.

There is a common misconception that using the word clock input on any piece of digital audio equipment will result in better sonic performance. In reality, the vast majority of word clock PLL circuits will have more intrinsic jitter than the word clock signal itself and usually more intrinsic jitter than the PLL within the AES/SPDIF receiver chip. As well, these PLLs usually have

no incoming jitter attenuation in the audio band.

Our A/D converters employ s-Lock™, a two stage PLL system to provide practically jitter-free recovered clocks with extremely high incoming jitter attenuation. The first stage is a wide lock range ultra low noise analog PLL, which can lock to incoming word clocks and Digidesign® Loop Sync signals with a +/-8% lock range. Rather than using standard CMOS based PLL chips for the first stage PLL, we use an extremely quiet, discrete VCO (volt-age controlled oscillator). When using a quality external clock source, this PLL alone will provide a nearly crystal quality clock. The incoming jitter rejec-tion of this PLL begins at 500Hz and increases at 12dB/octave with rising frequency. The wide lock range allows for the converter to operate in vari-speed applications without a sacrifice in audio performance, provided that the external clock source is relatively low jitter.

When the incoming sample rate is within +/-200 ppm of the selected sam-ple rate, the secondary (our proprietary s-Lock™) crystal based PLL will lock to the first stage PLL, providing the quiet-est possible recovered sample clock to the A/D converters. The s-Lock™ PLL is capable of extreme rejection of incom-ing jitter, which begins at less than 0.1Hz and is better than 60dB at 1kHz.

While it is very easy (and economi-cal) to provide “jitter free” sample clocks by routing the audio data through an ASRC (asynchronous sample rate converter), we believe that the conve-nience of these circuits does not out-weigh the potential sonic degradation caused by additional signal processing. The performance of the s-Lock™ PLL renders even the worst case interface jitter artifacts to a level well below the noise floor of the A/D converter.

Digital to Analog Converters Like the A/D converter, a D/A system is made up of three basic blocks; analog output circuitry, the D/A converter, and the clock system. The analog stage and clock design has very similar require-ments to the A/D converter design. However, the D/A analog interface has some special requirements. All of our products that contain reference quality D/A converters use Burr Brown DACs with current outputs. This important feature allows us to construct an ultra-critical current to voltage converter using transimpedance amplifiers. The use of transimpedance amplifiers as-sures that reconstruction of the analog signal is done without the non-linear slew rate limiting of regular op amps. While the benefits of this type of topology are not readily apparent in measured performance it makes a sig-nificant improvement in the clarity and resolving power of the DAC.

Our D/A converter products all em-ploy a two stage PLL system with the same s-Lock crystal based oscillator as in the A/D converters.

Summary - Creating audio cir-cuitry which performs to a high level of measured performance is the starting point of our designs. Measurable per-formance parameters such as distor-tion, noise, phase and bandwidth are important, but music does not behave like a steady state sine wave test tone - it is an infinitely complex waveform. Our designs are always optimized for music and all design decisions are verified by ear, the most sensitive test instrument available.

We regard electronic design as a holistic process which should result in products of uncompromised sonic performance, complete reliability, and beauty. If all electrical and mechanical details are considered at every stage of development, the result will stand the test of time.

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The m802 isn’t just in a class of its own, it’s an entirely different species. Pos-sibly the world’s most evolved mic pream-plifier, the m802 delivers functionality and performance which simply doesn’t exist in any other mic amp design.

The core is a high fidelity 8 channel microphone preamplifier designed to be extremely transparent and musical. But that’s just the beginning. The m802 is fully remote controllable. With our full featured stand alone hardware RCU, up to 64 chan-nels (a system of 8 m802’s) can be addressed and controlled seamlessly from up to 1000’ away. All preamplifier functions, including gain, phase, 48V phantom are instantly ac-cessible and adjustable. These settings can then all be stored into preset locations and instantly recalled.

The m802 can also be controlled direct-ly from Digidesign® ProTools|HD® systems, compatible control surfaces and many other MIDI devices. Working with Digidesign®, we have adapted their control spec to directly

address the m802 as an integrated part of a ProTools|HD® system. Additionally, the m802 can be controlled by a wide variety of MIDI mappable devices, making it easily integrated into a wide variety of remote recording situations.

Next, consider the optional 8 channel 24bit/192kHz A/D card option. Developed as the perfect complement to the m802 mic preamplifier design, this converter card provides pristine, musical A/D conversion to rival even the finest stand alone units available. Included is our proprietary unique s-Lock™ dual stage PLL for extremely low intrinsic jitter and rock solid digital perfor-mance.

The m802 now includes ribbon mic mode, which shifts the preamplifier’s entire gain range up 10dB, while deactivating 48V phantom power, optimizing input impedance and bypassing the decoupling capacitors.

DPA® 4000 series 130V microphones are widely regarded as some of the finest

reference-quality microphones available. Yet, with their unique 130V power require-ment, preamplifier options for these mics are quite limited. So we have made the m802 an excellent complement for DPA® microphones by adding a 130V power op-tion, available on a per channel pair basis.

While the m802 works beautifully as a stand alone mic preamplifier, the optional Remote Control Unit (RCU) provides fan-tastic ergonomics and enhanced system control. This updated RCU now offers dedi-cated individual channel select switches and a new highly visible blue LED numeric display for channel gain settings. Both the RCU and the m802 now come with a high contrast, neutral backlight LCD.

Whatever your application, we invite you to discover the remarkable sonic per-formance, functionality and reliability of the new m802. We’re confident that it will help you make the finest recordings of your career.

remote controlled microphone preamplification for all critical recording applications

m802 remote cont

rolled microp

hone pre

amplifier

fast, musical transimpedance amplifier architec-•ture

fully balanced, transformeless design•

flexible digital metering with peak hold and reset•

controllable from Digidesign® ProTools|HD® sys-•tems and compatible control surfaces (and many other MIDI devices)

dual high-current outputs (XLR+D-Sub) drive long •cable runs and loads down to 50 Ohms

fast, efficient Philips I2C serial protocol to control •preamplifiers from up to 1000 feet away

gain range of -7dB to +63dB in 1.5 dB steps•

new selectable ribbon mic mode•

channel group mode (perfect for stereo pairs, •subgroups)

RCU able to address up to 8 units (64 channels) •

front panel lockout mode•

large neutral backlit LCD display•

15 User preset memory locations, for saving pre-•amplifier settings (gain, phantom power, phase)

optional reference quality 24bit/192kHz A/D con-•verter card

A/D outputs include 2x8ch AES3 on DB25, 1x8ch •AES3-id on 4 BNC connectors (supports double wire mode)

optional ADAT Lightpipe output with SMUX for •96kHz

s-Lock™ dual stage PLL for extremely low jitter •without sample rate conversion

wordclock in and out•

130V phantom power available, per channel pair, •for DPA microphones

five year transferable warranty on parts and labor•

PREAMPLIFIER SPECIFICATIONS Frequenc y Response

@ 40dB gain ± 0.2dB (50Ω source) 15Hz-300kHz@ 40dB gain ± 3dB (50Ω source) 4.5Hz-1.0MHz

THD+N@ 19.6dB gain +20dBu out, 1kHz <.0007%@ 40.5dB gain +20dBu out, 1kHz <.0010%@ 60.0dB gain +20dBu out, 1kHz <.0050%

I ntermodulat ion Distor t ion@ 40dB gain +20dBu out SMPTE/DIN 1:1 (50Hz, 7kHz) <.0015%SMPTE/DIN 4:1 (50Hz, 7kHz) <.0040%

Noise - Refer red to I nput@ 60dB gain, 50Ω source -129dB@ 60dB gain, 150Ω source -127dB@ 60dB gain, 600Ω source -123dB

Phase Deviat ion100-20KHz @ 40.5dB gain <3°

Crossta lkAny Channel @ 40.5dB gain 1kHz -110dB

CMRR@ 60dB gain, 3.5Vcm, 1kHz >70dB@ 60dB gain, 3.5Vcm, 10kHz >70dB

Maximum Output LevelBalanced +27dBuUnbalanced +21dBu

I mpedanceInput 4.35kΩOutput 200ΩMinimum load impedance 50Ω

Weight and Dimens ionsm802 preamplifier 12lbs (5.4kg), 2U rack mount x D10” Remote control unit 2.3lbs (1kg), H1.6” x W8” x D5.25”power supply 4lbs (1.8kg), H1.7” x W 8.5” x D8.5”

Power Consumpt ion100/120/230/240V~ 50-60Hz 60 Watts

A/D CONVERTER MODULE (without preamplifier)D ynamic range

20Hz-20kHz >115dB“A” weighting >117dB

THD+N1kH z , -1dBFS , 20H z-22kH z < 0.00026% (-112dB)Frequency response +/-0 .2dB -3dB44.1kHz Fs 5Hz-21kHz 22kHz48kHz Fs 5Hz-23kHz 24kHz88.2kHz Fs 5Hz-41kHz 44kHz96kHz Fs 5Hz-45kHz 48kHz176.4kHz Fs 5Hz-54kHz 72.5kHz192kHz Fs 5Hz-59kHz 79kHzFull scale input level +16dB or +24dB (+/-2dB trim)

CMRR60Hz >65dB1kHz >80dB10kHz >60dBIMD SMPTE 4:1 60Hz, 7kHz, -3dBFS <100dB (0.0008%)I nterchannel c rossta lk <120dB

Group delay44.1-48kHz 13/FsSample rates , interna l c r ysta l (kH z) 44.1, 48, 88.2, 96, 176.4, 192

Ex terna l C lock Lock R angeWide lock mode 40.1kHz-207kHz (+/-8% at each sample rate)s-Lock™ mode +/-250ppm (+350, -400ppm typical)

I nt r ins ic J i t ter, 200H z-20kH z B WWide lock mode < 60ps RMSs-Lock™ mode < 40ps RMS

J i t ter Re jec t ion Corner Frequenc yWide lock mode, -3dB, 12dB/octave 800Hzs-Lock™ mode, -3dB, 12dB/octave 10Hz

Introduced in 1995, the model 801 mi-crophone preamplifier was slightly ahead of its time. But as digital audio workstations soon flooded the industry, an accompany-ing high performance 8 channel mic pre-amplifier suddenly made perfect sense. So the model 801 quickly became an industry standard, which remains inimitable and unsurpassed.

Many years later, with a nearly flawless service record and an endless supply of critical acclaim, the model 801 gets a much deserved update, including an updated au-dio path, a new chassis forged of stainless steel and a slightly new name: the m801.

First and foremost, the new m801 delivers unmatched audio performance – with massive headroom and ultra-wide bandwidth which contribute to a mark-

edly open, musical character. The m801 is designed to effortlessly resolve even the lowest level ambient information, resulting in a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.

The m801’s signal path has been hot-rodded to be fully balanced from start to finish, resulting in wider dynamic range, while new higher current output drivers enable even longer cable runs without signal loss.

Now included on each channel is a dedicated ribbon microphone switch, which shifts the preamplifier’s entire gain range up 10dB, while deactivating 48V phantom power, optimizing input imped-ance and bypassing the decoupling capaci-tors. And, we’ve added an additional set of

8 channel balanced outputs for sending signals to a secondary recorder, worksta-tion or console.

Each channel offers 48V phantom, phase reverse and a 20dB pad. Gain con-trols are our finest 24 position gold contact rotary switches, wired with 1% metal film resistors for maximum audio performance and perfect resetability. All components, active and passive, are selected for pure au-dio performance and long term reliability. No corners are cut and no compromises are made.

While its predecessor now takes its place in pro audio history, the new m801 faithfully furthers the tradition of breath-taking audio performance and perfect reli-ability in a beautiful, functional 8 channel package.

transformerless, transparent microphone preamplification for all critical recording applications

m801eight ch

annel microp

hone pre

amplifier

fully balanced, transformerless design•

all new, higher-current outputs drive even •longer cable runs

ribbon mic mode switch on each channel•

fast, musical transimpedance amplifier •architecture

precision 24 position gold contact rotary •switch gain controls

48V phantom power, 20 dB pad and phase •reverse

no electrolytic capacitors in the signal •path

sealed gold contact relays for all signal •switching

all electrical and mechanical design ele-•ments maximized for absolute purist, audiophile performance

large two color LED peak indicator•

regulated linear power supply with cus-•tom wound toroidal transformer

highest quality metal film resistors used •throughout

five year transferable warranty on parts •and labor

SPECIFICATIONSFrequenc y Response

@ 40dB gain ± 3dB 50Ω source 4.5Hz-350KHz

@ 40dB gain ± 0.2dB 50Ω source 18Hz-65KHz

THD+N@ 20dB gain +20dBu out, 1kHz <.0008%

@ 40dB gain +20dBu out, 1kHz <.0009%

@ 60dB gain +20dBu out, 1kHz <.0070%

I ntermodulat ion Distor t ion@40dB gain +20dBu out

SMPTE/DIN 1:1 (50Hz, 7kHz) <.0020%

SMPTE/DIN 4:1 (50Hz, 7kHz) <.0030%

Noise - Refer red To I nput@60dB gain 50Ω source -130dB

@60dB gain 150Ω source -127dB

@60dB gain 600Ω source -123dB

Phase Deviat ion100-20KHz @40dB gain <3°

Crossta lkAny Channel @40db Gain 1khz -140db

Any Channel @40db Gain 10khz -130db

CMRR@60db Gain, 3.5vcm, 1khz >70db

@60db Gain, 3.5vcm, 10khz >70db

Phantom PowerVoltage +48v +0.9/ -0.0

6.8kΩ resistor match tolerance +/- 0.1%

Maximum Output Level1khz, 100kΩ Load +28dbu

I mpedanceInput 8100Ω

Input, Ribbon Mode 20kΩ

Output 190Ω

DimensionsWeight 15lbs (6.8kg)

Height 2u

Width 19”

Depth 10”

Power Supply Speci f icat ionsPower Consumption

100-240vac 50/60hz 60 Watts Max

Power Supply Dimens ionsWeight 6.25lbs (2.8kg)

Height 1.7”

Width 8.5”

Depth 8.5”

standard m201

During its 12 years in production, the model 201 mic preamplifier found its way into countless recording facilities around the world, gathering a considerable amount of critical acclaim along the way. Now our classic two channel mic preampli-fier has been completely redesigned and transformed into the m201.

Like the rest of our line, the new m201 delivers unmatched audio performance, with massive headroom, ultra-wide band-width and a very open, musical character. The signal path has been hot-rodded to be fully balanced from start to finish, resulting in a wider dynamic range, while new high-current output drivers enable even longer cable runs without signal loss. This means the m201 can translate a sonic picture of astonishing clarity and detail, which serves to capture the essential character of the music being recorded.

We offer the m201 with our state of the art 24-bit/192kHz A/D converter option, from the factory or as a retrofit to exist-ing units. With the A/D converter module installed, the microphone preamplifier section or the M+S matrix can be routed to the A/D converter input directly for stan-dard recording applications. Or, with the additional analog line inputs on the A/D converter module, the mic preamplifier and A/D converter sections can be used sepa-rately, which allows for external processing to be inserted between the mic amp and the A/D converter.

External synchronization to word clock or Digidesign LoopSync is available, and features our proprietary dual stage PPL with s-Lock for extremely low jitter and rock solid digital stability without the use of sample rate conversion.

Our exclusive ribbon mic mode is stan-dard, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. Each channel has an ‘input mode’ rotary switch which selects between a standard 48V phantom input, ribbon mic mode, a front

panel DI input or optional DPA high voltage inputs (130V or 190V).

Included is our newly designed M+S (mid side) decoder circuitry with a built-in width control. The front panel width con-trol is wired with a precision 12 position rotary switch which provides a ratio range from 100% mid (mono) to 30% mid / 70% side. The ultra-precision summing and dif-ference amplifiers feed a set of dedicated outputs, allowing simultaneous recording of discrete mid+side signals as well as the stereo matrix.

The new front panel mounted HI-Z in-puts are designed to accommodate a wide variety of high impedance input sources, making the m201 an excellent choice as a DI box which will flawlessly preserve the sound of any plugged-in instrument. Imagine the same resolution and detail as our microphone preamplifiers available for DI recording situations.

Whatever the application, the remark-able sonic performance and functionality of the new m201 will help you make the finest recordings of your career.

transformerless, transparent microphone preamplification for all critical recording applications

m201 2 channel

microphone

preamplifie

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redesigned, fully balanced, transformerless •design

dual parallel XLR outputs for each channel•

ribbon mic mode•

front panel DI / instrument inputs•

DPA microphones 130V (190V) phantom •power option

built in M+S decoder with dedicated outputs •and front panel width control

optional reference quality 24bit/192kHz A/D •converter section available in late 2007

precision 24 position gold contact rotary •switch gain controls

new, higher current outputs drive even longer •cable runs

no electrolytic capacitors in the signal path•

sealed gold contact relays for all signal switch-•ing

large two color, bi-phase LED peak indicator•

regulated linear power supply with custom •wound toroidal transformer

highest quality components used through-•out

five year transferable warranty on parts and •labor

SPECIFICATIONS (without A/D converter)Frequenc y Response

@ 40dB gain ± 0.2dB (50Ω source) 18Hz-65kHz@ 40dB gain ± 3dB (50Ω source) 4.5Hz-350kHz

THD+N@ 20dB gain +25dBu out, 1kHz <.0008%@ 40dB gain +25dBu out, 1kHz <.0009%@ 60dB gain +25dBu out, 1kHz <.0070%

I ntermodulat ion Distor t ion@ 40dB gain +25dBu out SMPTE/DIN 1:1 (50Hz, 7kHz) <.0020%SMPTE/DIN 4:1 (50Hz, 7kHz) <.0030%

Noise - Refer red to I nput@ 60dB gain 50Ω source -130dB@ 60dB gain 150Ω source -127dB@ 60dB gain 600Ω source -123dB

Phase Deviat ion100Hz-20kHz @40dB gain <3°

Crossta lkAny Channel @ 40dB gain 1kHz -125dBAny Channel @ 40dB gain 10kHz -115dB

CMRR@ 60dB gain, 3.5Vcm, 1kHz >70dB@ 60dB gain, 3.5Vcm, 10kHz >70dB

Maximum Output Level1kHz, 100KΩ load +28dBuImpedanceInput 8100ΩInput, ribbon mode 20kΩOutput 190Ω

Peak Led MeterGreen threshold -14dBuRed threshold +16dBu

Weight and Dimens ionsdimensions 2U, 19” rack mount x 10” deep weight 16.5lbs (7.5kg)

Power Consumpt ion100/120/230/240V~ 50-60Hz 20 Watts Max

A/D MODULE SPECIFICATIONS (line input)D ynamic range

20Hz-20kHz >115dB“A” weighting >117dB

THD+N1kHz, -1dBFS, 20Hz-22kHz < 0.00026% (-112dB)Frequenc y response +/-0 .2dB -3dB44.1kHz Fs 5Hz-21kHz 22kHz48kHz Fs 5Hz-23kHz 24kHz88.2kHz Fs 5Hz-41kHz 44kHz96kHz Fs 5Hz-45kHz 48kHz176.4kHz Fs 5Hz-54kHz 72.5kHz192kHz Fs 5Hz-59kHz 79kHzFul l sca le input leve l +16dB or +24dB (+/-2dB trim)

CMRR60Hz >65dB1kHz >80dB10kHz >60dBIMD SMPTE 4:1 60Hz, 7kHz, -3dBFS <100dB (0.0008%)I nterchannel c rossta lk <120dB

Group Delay44.1-48kHz 13/Fs Sample rates, internal crystal (kHz) 44.1, 48, 88.2, 96, 176.4, 192

Ex terna l C lock Lock R angeWide lock mode 40.1kHz-207kHz (+/-8% at each sample rate)s-Lock™ mode +/-250ppm (+350, -400ppm typical)

I nt r ins ic J i t ter, 200H z-20kH z B WWide lock mode < 60ps RMSs-Lock™ mode < 40ps RMS

J i t ter Re jec t ion Corner Frequenc yWide lock mode, -3dB, 12dB/octave 800Hzs-Lock™ mode, -3dB, 12dB/octave 10Hz

A/D sens i t iv i t yRange A +22dBu = 0dBFS (18dB headroom*)Range B +18dBu = 0dBFS (14dB headroom*)*can be calibrated for any setting between +18dBu = 0dBFS and +24dBu = 0dBFS

The venerable model 101 single channel mic preamp/ DI has been updated and yes, its name shortened: the m101. The m101 delivers the same high fidelity per-formance, with some great new features and all for the same basement price as its predecessor.

Maintaining Grace Design pedigree throughout, the m101 employs our bal-anced, transformerless, transimpedance circuit topology with no electrolytic capacitors in the signal path. With incred-ible bandwidth and headroom, the m101 is natural, musical and detailed, allowing engineers working at any level or in any studio environment to record consistently amazing tracks.

The m101 is equipped with an internal power supply, eliminating the need for a pesky wall-wart. Our new universal switch-ing power supply is dead quiet and accepts input voltages from 100 to 240VAC. We

have changed the chrome front panel to a slightly more grown-up anodized / laser etched black, which improves legibility and usability in varying light conditions. And all functions now have a dedicated indicator LED, including the 48V phantom power and HPF switch.

Now built in as standard is our unique Ribbon Mic Mode, which when engaged bypasses the input decoupling capacitors, ups the input impedance from 8.1kΩ to 20kΩ and defeats the 48V phantom power, preventing damage to delicate ribbon mic elements. Ribbon mics, you’re welcome.

The gain range is now 10-75dB, includ-ing the additional +10dB of gain available with the output trim control. This provides ample gain for use of any type of micro-phone in any recording situation.

Still included is the HI-Z input on the front panel. Rear panel I/O options have

been enhanced with both balanced TRS and unbalanced TS 1/4” outputs, along with the standard XLR balanced out and XLR microphone in.

The gain control has been upgraded to a gold plated 12 position switch, the circuit path updated with 0.5% metal film resistors and further tweaks have been made on the output drivers and the HPF amplifier.

Equally at home amplifying a vintage condenser mic or a plugged-in acoustic guitar, the m101 delivers the kind of high fidelity performance previously available only to big budget recording studios and Grammy winning musicians. Add it all up while considering that we did all this and kept the price the same and the picture becomes pretty clear – the m101 is one little hot rod piece of pro audio gear for the masses.

high performance, affordable microphone and instrument preamplification for all recording and live sound applications

m101single ch

annel microp

hone pre

amplifier

balanced, transformerless design•

fast, musical transimpedance amplifier architec-•ture

precision 12 position rotary switch gain•

Wide 10-75dB gain range with +10dB variable •output trim control

optimized DI instrument input, XLR mic input•

48V phantom power, high pass filter switch •(75Hz,12dB per octave)

two units can be mounted side by side in a stan-•dard 1U rack tray

no electrolytic capacitors in the signal path•

sealed gold contact relays for all signal switching•

two color LED peak indicator•

highest quality metal film resistors used through-•out

Ribbon mic mode, also great for dynamic mics•

Three output connectors: XLR balanced, TRS bal-•anced and ¼” unbalanced

Bombproof laser-etched black anodized front •panel

Built in power supply / no wall-wart •

Five year transferable warranty on parts and la-•bor

SPECIFICATIONSGain R ange (5dB steps)

Mic input 10-60dB

Hi-Z input -10-40dB

Mic input high gain version 20-70dB

Hi-Z input high gain version 0-50dB

Output trim attenuator 0 to -10dB

THD+N

@ 20dB Gain +20dBu out <0.00085%

@ 40dB Gain +20dBu out <0.0010%

@ 60dB Gain +20dBu out <0.0050%

I ntermodulat ion Distor t ion

@ 40dB Gain +20dBu out

SMPTE/DIN 4:1 7kHz/50Hz <0.0020

Noise - Refer red to I nput

50Ω source <-130dB

150Ω source <-128dB

600Ω source <-124dB

CMRR

100Hz >68dB

1kHz >75dB

10kHz >65dB

Phase Deviat ion (HPF of f )

50Hz-25kHz <6°

Frequenc y Response

Mic input @ 40dB Gain -3dB 4.5Hz-390kHz

Mic input @ 40dB Gain -0.5dB 10.5Hz-140kHz

Hi-Z input @ 20dB Gain -3dB 2.5Hz-195kHz

Hi-Z input @ 20dB Gain -0.5dB 6Hz-74kHz

I mpedance

Mic input 3kΩ

Hi-Z input (unbalanced) 1MΩ

Hi-Z input (balanced) 2MΩ

Output 300Ω

Peak LED Meter

Green threshold -14dBu

Red threshold +16dBu

Weight and Dimens ions

Weight 5lbs (2.3kg)

Dimensions W8.5” x D6.25” x H1.7”

Luckily, music isn’t confined to the recording studio. So for those dedicated to capturing music wherever and whenever it happens, we continue to offer the lunatec V3 portable DC powered 2 channel mic preamplifier with A/D converter.

The Lunatec V3 delivers the same trans-parent, high fidelity audio performance as the rest of our mic preamplifier line, while being conveniently DC powered and por-table enough to fit in a shoulder bag and accompany you and a recorder anywhere you need to go. And when you get home, plug the lunatec V3 in and enjoy its immac-ulate audio performance in your studio.

Our ultra-low distortion, 24/192kHz A/D converter section is included as standard, with flexible outputs including S/PDIF, AES3 and TOSLINK (optional). Both single and dual-wire 176.4 and 192kHz AES/EBU modes are provided via a pair of XLR con-

nectors, which enable connection to high sample rate dual-wire or single-wire digital recording systems. All outputs, analog and digital, are active at all times for even fur-ther capture flexibility.

The V3 uses precision 11 position rotary gain switches, with 10dB output attenua-tors for fine level adjustment. Each channel has 48V phantom power and 2 position high pass filters (presetable at 50-100Hz or 75-150Hz with either 6 or 12 dB per octave slope). Plus, for engineers working with M+S mic technique, the lunatec V3 includes a M+S decoder matrix as standard.

The lunatec V3 is also equipped with our proprietary analog noise shaping dither circuit, called ANSR™, which can be applied for high quality word length reduction when sending signals to a 16-bit digital recorder.

With measured and sonic performance that rivals even the finest microphone stu-dio preamplifiers, the lunatec V3 is designed to effortlessly translate the most subtle, complex low-level ambient information or highly dynamic material without noise or coloration. From ambient field recording, to taping large venue concerts, what your microphones hear is exactly what gets captured.

Sound designers, concert tapers, re-mote engineers, classical engineers or any-one with a portable recording system will simply be thrilled by the depth, clarity and realism the lunatec V3 delivers. Combined with all the essential features needed for true portability, the Lunatec V3 remains the best performing, portable, DC powered microphone preamplifier available.

portable, DC powered microphone preamplifier with A/D converter for field recording, concert taping, sound design

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PREAMPLIFIER SPECIFICATIONSFrequenc y Response

@ 60dB gain -3dB 6Hz-250kHz

THD+N@ 20dB gain +20dBu out 0.0011%

@ 40dB gain +20dBu out 0.0011%

@ 60dB gain +20dBu out 0.0046%

I ntermodulat ion Distor t ion@ 40dB gain +20dBu out

SMPTE/DIN 4:1 50Hz,7k <.0045%

Noise - Refer red To I nput@ 60dB gain 50 Ohm source <-130dB

Phase Deviat ion50Hz-20kHz <8°

Crossta lkEither Channel -109dB

CMRR@ 60dB gain, 3.5Vcm, 1kHz 70dB

@ 60dB gain, 3.5Vcm, 10kHz 80dB

Output CMRR 60dB

Maximum Output LevelBalanced +25dBu

Unbalanced +19dBu

Impedance

Input 3k Ohms

Output 300 Ohms

Minimum Load Impedance 600 Ohms

A/D CONVERTER SPECIFICATIONSD ynamic R ange

44.1kHz-192kHz, 22Hz-20kHz bandwidth 107dB

44.1kHz-192kHz, A-weighted 110dB

THD+N44.1kHz-192kHz, -3dBFS, 22Hz-20kHz bandwidth -96dB

Frequenc y ResponseFs 44.1kHz +0.1/-0.4dB 20Hz-21kHz

Fs 48kHZ +0.1/-0.4dB 20Hz-22kHz

Fs 88.2kHz +0.1/-0.4dB 20Hz-42kHz

Fs 96kHz +0.1/-0.4dB 20Hz-45kHz

Fs 176.4kHz +0.1/-0.4dB 20Hz-75kHz

Fs 192kHz +0.1/-0.4dB 20Hz-82kHz

Power Consumpt ion6-12VDC 600-1000mA

(depending on A/D settings and microphone type)

Weight and Dimens ions 2.6 lbs (1.2kg) W8.25” x D5.5” x H1.7”

fully balanced, transformerless design•

fast, musical transimpedance amplifier archi-•

tecture

precision 11 position gold contact rotary switch •

gain controls

10dB output trim controls for fine level adjust-•

ment

A/D converter with 44.1, 48, 88.2, 96, 176.4 and •

192kHz sampling rates

ANSR™ dither circuit for recording to 16-bit •

recorders

2 position high pass filters presetable at 50-•

100Hz or 75-150Hz with either 6 or 12 dB per

octave slope

8-segment dot mode LED level meters•

48V phantom power•

M+S decoding matrix•

converter section disable for battery power •

conservation

Grace Design audiophile performance and •

rugged chassis construction, packaged to be

portable and bombproof

no electrolytic capacitors in the signal path•

highest quality metal film resistors used •

throughout

Available with either a TOSLINK or WORDCLOCK •

output

five year • transferable warranty on parts and

labor

2434 30th Street, Boulder, CO 80301 USA • 303.443.7454 • www.gracedesign.com printed on 100% recycled paper